Architecture, like many disciplines shaped by Enlightenment rationality, operates within rigid binary oppositions—up and down, interior and exterior, solid and void. These self-referential constructs limit architecture’s ability to fully engage with complex spatial interdependencies. Bound by conventional representation methods like planes, sections, and elevations, architecture struggles to address the fluid, polyvalent nature of contemporary space.

Painting, as a two-dimensional medium, has long pursued spatial depth, while architecture, paradoxically, reduces its own spatiality to lines on paper. By merging the two fields, a new mode of architectural expression emerges—one that is sentimental, ambiguous, and immersive. This series of paintings serves as an alternative architectural medium, existing simultaneously as architectural drawings and tangible, emotive objects. They oscillate between space and representation, challenging architecture’s rigid dualities by embracing idiosyncrasy, atmosphere, and spatial interference.